Bovie Movie

Terry Gilliam (Brazil, Twelve Monkeys, The Fisher King) directed this colorful, stylized, pseudo-psychedelic $21-million adaptation of the 1971 Hunter S. Thompson classic, Fear and Loathing in Las Vegas: A Savage Journey into the Heart of the American Dream, about stoned sportswriter Raoul Duke, Thompson’s alter ego, on a wild drug-crazed road trip, a paranoid plummet into the belly of the beast, with his pal, lawyer Oscar Zeta Acosta. Originally serialized in Rolling Stone (November 1971), the book catapulted Thompson headfirst toward the Kerouac-Mailer-Capote pantheon and jump-started the entire movement of “gonzo journalism.” Carrying a suitcase of drugs, Raoul Duke (Johnny Depp with shaved pate) and his attorney Dr. Gonzo (Benicio Del Toro) drive a red convertible across the Mojave from L.A. to Vegas, where Duke has an assignment to cover the Mint 400 desert motorcycle race. As the drugs kick in, Duke ventures into voiceover, filling in the blank spots and narrative gaps. “This is not a good town for psychedelic drugs,” says Duke, but even so, they consume vast quantities, eventually escalating to ether. Duke notes that with ether “you can actually watch yourself behaving this terrible way, but you can’t control it.” The two trash their hotel room, and Gonzo goes back to L.A. Thinking the hotel room holocaust will lead to an arrest, Duke begins a drive back to L.A., but after an odd encounter with a highway patrolman (Gary Busey) and a telephone conversation with Gonzo, he returns to Vegas to cover the District Attorney Convention on Narcotics and Dangerous Drugs in the glitzy Flamingo Hotel. This time the drugged-out duo trash their Flamingo room. The crazed carnival atmosphere segues into a carney casino, Bazooko’s Circus, where a barker (Penn Jillette) spiels amid aerialists, clowns, and a rotating carousel bar. Gonzo worries over runaway teen Lucy (Christina Ricci), who paints portraits of Barbra Streisand. Soon the hallucinations begin: Duke sees Gonzo transmogrify into a demon with breasts on its back, and an acid vision of a Vegas bar features large legit lounge lizards (courtesy of monster makeup man Rob Bottin). Flashbacks depicting Duke’s intro to the drug scene jump back to love-Haight relationships in San Francisco’s Summer of Love. Cameos and guest stars include Mark Harmon, Cameron Diaz, Flea, Lyle Lovett, Harry Dean Stanton, Ellen Barkin, Tobey Maguire, and Hunter S. Thompson himself. The film features a Geffen Records soundtrack mixing rock of the period with Vegas lounge tunes. Over the years, various script adaptations came and went as did numerous talents; people connected with past efforts to film Thompson’s book include Martin Scorsese, Jack Nicholson, Dan Aykroyd, John Belushi, and writer-director Alex Cox. Shown in competition at the 1998 Cannes Film Festival.

After a near unprecedented string of critical and box-office smash hits, beginning with Toy Story in 1995, animation studio Pixar produced its first disappointment with Cars. In a bizarre and slightly creepy world where all the characters are motor vehicles, red racer Lightning McQueen (voiced by Owen Wilson) is a preening, hot-shot track star who, on the way to a big meet in LA, becomes stranded in the small town of Radiator Springs off Route 66. There, the residents, including a cute female Porsche (Bonnie Hunt) and a wise old-timer with a secret past (Paul Newman), teach McQueen a few lessons about the value of taking things slow and enjoying life. The middle act is too sedate and the jokes are below par. But, on the plus side, the racing sequences are mini-masterpieces of editing and the animation is consistently impressive. And if you’re watching the UK release version of the film, you’ll recognise Harv’s dulcet tones — yes, it’s Top Gear’s Jeremy Clarkson. 

This charming throwback to the screwball comedies of the 1930s is one of the better vehicles designed for Goldie Hawn. She plays a pampered heiress to a fortune, who loses her memory after falling off her luxury yacht. Carpenter Kurt Russell, who had clashed with her earlier, sees the chance for revenge and convinces her that she is his wife. The chemistry between the two stars (a couple in real life) is complemented by the performances of an experienced supporting cast that includes Katherine Helmond, Roddy McDowall and Edward Herrmann. It’s slickly directed by Garry Marshall, who juggles the sharp repartee and knockabout slapstick with ease.